Among other tweaks to coverage, the broadcaster added announce positions in the booth and in the stands on multiple courts
Wimbledon 2026 will be remembered for the heat as well as for a surprising performance by British Wild Card Arthur Fery, who made the men's semifinals. For ESPN, Senior Manager, Remote Operations, Jarrett Baker and the ESPN production team, it was a great two-week effort.
We can't say enough good things about Paul Davies, associate director of broadcast, production, and media rights, AELTC; Georgina Green, head of broadcast and production, Wimbledon; and the Wimbledon Broadcasting Services Team, Baker says. We meet regularly when the eyes of the tennis world are not on the immaculate grounds of the AELTC, and their attention to detail extends well beyond what viewers see on the screen. It includes making sure furniture stays in top condition, refreshing the in-house IPTV system, and finding additional space for our ever-growing broadcast footprint.
Aside from the sweltering heat, he adds, load-in went well and set the stage for big moments on and off the court. Serena Williams's return to singles competition generated a fourfold increase in studio hits during the final days of fax and rehearsal. Our veteran crew loves The Championships, and their relationships with staff and intimate knowledge of the grounds are keys to our success.
One of the new technical additions was deployment of the broadcaster's AutoMic technology, making its Wimbledon debut. The system uses metadata from each commentator's microphone to instantly identify the speaker in a dynamic on-screen graphic.
With announcers working across multiple courts throughout the tournament, explains ESPN VP, Production, Phil Orlins, AutoMic helped viewers easily identify commentators while increasing awareness of ESPN's extensive broadcast team. Developed entirely in-house, AutoMic is the result of a collaborative effort between ESPN's Operations, Software Data, Creative Studio, and Production teams (to see it in action, click here.
At Wimbledon, ESPN's AutoMic highlighted along the bottom of the screen the name of the commentator speaking (in this example, Patrick McEnroe), making it easier for fans to know whom they are listening to.The biggest tweak in coverage, Baker says, was the addition of dedicated announce positions at No. 2 Court and No. 3 Court, along with courtside whisper seats at Courts 1, 2, 3, and Centre Court. Also, craft-editing workflows moved to the AWS cloud, and ESPN's editors, feature producers, engineering team, and vendors did a remarkable job adjusting decades of on-premises experience into a distributed environment.
We've shipped a mini tape library from Slam to Slam for years, he notes. While the shelves of EVS XFile Drives are still in our media workroom in Wimbledon, all that archived content is also natively available to our team of editors working 24/7 in the U.S., UK, and Australia.
To improve the look of virtual graphics, a few small changes were made to the main host set in Studio 3. Our studio design and directing team led by Coordinating Director Marti Hanzlik and Director Chris Watson, Baker says, worked with Shedworks Studio to reduce the size of a semicircular LED light box above the main desk. There were also a few small tweaks to our set in Studio 12 and the ENG interview space in Studio 18.
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Among other tweaks to coverage, the broadcaster added announce positions in the booth and in the stands on multiple courts
